Associated is an artist-run exhibition space in the Bushwick neighborhood of Brooklyn. We aim to implement and foster unique associations between the artists, curators, collectors and writers that make this neighborhood one of the most creative areas on the East Coast.

Associated is no longer at The Active Space

As of June of 2014, Associated is no longer at The Active Space, 566 Johnson Avenue, where we had been located since March of 2013, and where it had been WEEKNIGHTS gallery since July of 2012. The three of us (Theresa Daddezio, Julian Jimarez-Howard, and Jen Hitchings) are currently functioning as a curatorial team, actively seeking exhibition spaces that would be willing to house our known-to-be exciting, engaging, and challenging shows. We would appreciate any suggestions of potential locations for us to temporarily curate in.

We sincerely thank all of the artists, curators, writers, friends, and all visitors of our small gallery space for making it as immensely rewarding, fun, and worthwhile as it was. We hope to continue to be active as a curatorial team and to grow with and help promote the Bushwick and greater Brooklyn art scene in any way that we can. Stay tuned here for any and all updates we will have in the future.

Julian Jimarez-Howard is currently the founder and co-director of OUTLET Fine Art in Bushwick, along with Jason Andrews and John Silvas. Theresa Daddezio is maintaining her studio practice in The Active Space, and Jen Hitchings is maintaining her studio practice in Williamsburg,

These Arabesques, on view at Associated during Bushwick Open Studios 2014

These Arabesques Ryan Brennan + Takuji Hamanaka

What are layers to a flat structure?

a grandmother’s portrait looks to a print of Thomas Gainsborough’s
Blue Boy (Johnathan Buttall),1770
She is staring ahead with a soft, knowing smile, while the boy stands proudly — straightened
with a cocked hip and his weight on his back right leg.
He withdraws like blue retreats for Goethe, to our periphery and out of our grasp
to our eye’s serrated margins.
He is wrapped tightly, seriously, neatly flowering in all his white & blue satin ribbonry
shoulders stocked back, with leg planted forward. en garde
She rests, though: relaxed, falling shoulders in a loose white blouse, not in a slouch
but with comfort and approachability. en repose.

As Carol Mavor, via Barthes, sees the blue boy, this flowery decorated form
is packaged and fastened: cheap, amateur, pornographic, kitsch.
He is a beautiful figure in all rights and in most decorum.
His structure is becoming and delightful, but empty and only for endless unwrapping —
endless unwrapping with the eyes and ears
(with his silver bells attached!)
Consumption of this blue boy spirals in and around his form
He is an arabesque, appropriated/ly.


Takuji Hamanaka (b. 1968, Hokkaido, Japan)
Ryan Brennan (b. 1982, Cincinnati, OH)

There is no such thing as New Media anymore, the readily transparent structure of the web
,with its participants,
has done away with all the new media mythologies of the 80s and 90s.
In Hamanaka’s work — using traditional woodblock techniques and chine-collé
with other collage work – transparency has always been prevalent.
The structure is visible from top-to-bottom; the passage of the work is
always visible.
There is little unwrapping to do, instead, it is already full.
So, too with Brennan’s work – in both the URL collages and YouTube compositions —
the web’s arabesques are undone and time, either by the Julian dates or the stamps for sound, is
made visible.

There is a new relaxedness in these transparent structures, a doing away of the unnecessary web of empty, obscure mythologies that new media and the internet have built to hide the flatness of their layers.

These Arabesques is A. Project by Alan Longino @ Associated Gallery, 577 Johnson Avenue #27

Opening reception 05/30 | 7 - 9 PM
Saturday hours 05/31 | 12 - 6 PM
Sunday hours 06/01 | 12 - 6 PM

Upcoming at Associated: Cut/Scrape/Smear: Purchase BFA Painters

Cut/Scrape/Smear: Purchase BFA Painters
Curated by Kathy Bradford
April 26 - May 11, 2014
Opening Reception Saturday, April 26, 7-10pm

Associated Gallery is pleased to present Cut/Scrape/Smear: Purchase BFA Painters. This exhibition aims to showcase the variety of paintings created by the graduating class at SUNY Purchase, many of which take on a tactile form in surface quality, and which vary in content and materiality.

Featuring works by: 

Kyle Breitenbach, Lauren Britton, Marissa Crider, Nora Fantry, Travis Fairclough, Patrick Fullmer, Daniela Gomez, Mary Lam, Stephanie Manzi, Morgan Mcallister, Gina Mischianti, Katherine Perez & Kristen Racaniello.

The participating artists would like to thank the supportive and virtuous Board of Study at Purchase College: Matt Bollinger, Susanna Heller, Sharon Horvath, Julian Kreimer, Cynthia Lin & Beth Livensperger.


Travis Fairclough, “Water Gap,” 12x15 inches, oil on Panel


Kyle Breitenbach, Latibule, 2014, Oil on canvas, 10 x 8 inches


Lauren Britton, Rainbow Rainbow, 2014, Acrylic and Flasche on Canvas, Diptych, each 12 x 10 inches

Daniela Gomez, Carpet Drip, Dimensions vary, Tape, Floor matt, Wooden panel


Katherine Perez, Keep Your Receipts


Kristen Racaniello, Alone with Friends, Oil and acrylic paint and foam core, 13 x 13 inches


Morgan McAllister, Dixon, 2014, 12 x 12 inches


Patrick Fullmer, The General, Flashe, 12 x 12 inches


Mary Lam, Untitle, 2014, MDF wood, painted over with acrylic paint, 3 inches (diameter), 2.5 inches (diameter), 5 inches (diameter)


Stephanie Manzi, Rauschenberg in my Studio, 2014, Oil on canvas, 12 x 9 inches

Upcoming at Associated

Thick with Cold
Monica Haak, Matthew Shelley, Aaron Williams
March 22 - April 13, 2014
Opening Saturday, March 22, 7-10pm

imageMonica Haak, “Albion January,” 2010, oil on linen, 16 x 20 inches

“Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the   sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt.”  - Immanuel Kant                                                                                 

Although we are increasingly removed from the landscape, both physically and psychosocially, the role it continues to play is central to our identity as living beings. Monica Haak, Aaron Williams, and Matthew Shelly explore the broad theme of “The Landscape” in a progressive distortion between actual depiction, fragmentation, and abstraction of ubiquitous imagery. By employing various technologies that mediate our experience with our surroundings, each artist depicts their experience of the world around them as a form of documentation, nostalgia, awe, escapism, and even satire.  

Haak describes her paintings as “manifestations of the mundane beauty of the overgrown outskirts of the city and the specific solitude they provide.” She creates scenes that might serve as places of quiet refuge, where time both stands stoically still yet seems to be receding beyond the viewers vision. “These pockets of nature are bordered by and defined against their urban surroundings but are peacefully abandoned.” She depicts these places where, despite a stoic stillness, one can sense the light and atmosphere constantly shifting.  For her, the images act as a refuge where time slows down enough to absorb the richness of subtlety in her environment.

Shelley pieces together the landscape using found photography gathered from books on environmental science, travel, and the American wilderness. Building on chance associations and formal connections, he develops a scenario that is a combination of his experience with the materials, the assemblage, and the landscape itself. His use of representational imagery of expansive landscapes paired with geometric color fields and sharp edges form invented realities, alluding to worlds of fiction. The interaction between the materials and subject matter and how they oppose one another, in regard to scale, is largely present in Shelley’s work.

Working in several different mediums, Williams’ work is guided largely by materials and their inherent qualities and utility, often using common elements like commercial posters and raw construction materials. He combines these concrete objects with more rarified ideas and strategies of fine art, questioning our received notions of traditional art making processes as well as the relationship between personal and broadly disseminated imagery. For this body of work, photographs of the sky were taken outside his studio and near the studios of DeKooning and Jackson Pollock in eastern Long Island, NY. Using the standard dimensions of typical portraiture (24 x 18 inches), he aims to reshape the common idea of space, implying a human portrayal. By bringing the color to the surface and creating opaque blocks of blue form, he makes photographs that operate alternately as space and solid, while also being tacit portraits of the studio process.

Monica Haak was born in Chicago, IL in 1983. She studied fine art and philosophy at the University of Pennsylvania in Philadelphia, PA and currently lives and works in Brooklyn, NY.

Shelley received his BFA from the University of Oregon and his MFA from American University, D.C, and currently lives and works in Bethlehem, Pennsylvania.

Williams received his BFA from the Maine College of art and his MFA from the Mason Gross School of the Arts, Rutgers University. He has shown extensively in the United States. He currently lives and works in Queens, NY.


imageMatthew Shelley, “Rolodex 6” and “Rolodex 5,” 2014, Collage on paper, 20 x 22 inches

imageMatthew Shelley, “Spaghetti Western 3,” 2013, Collage on paper, 11 x 14 inches

imageAaron Williams, “Monochrome 13” and “Monochrome 11,” 2014, C-print mounted on museum board panel, 24 x 18 inches


Monica Haak,”Albion II,” 2010, Oil on linen, 12 x 12 inches



imageShow image: Scott Marceau, “Scott Launching Off the Swing,” 1996, C-Print, 4 x 6 inches

February 22 - March 9, 2014
Opening Sat. February 22, 7-10pm

Angela Beallor and Kate Sopko
AJ Nichols
Scott Marceau
Arthur Matuszewski
Ian McOmber
Gabriella Searles


       In 1972, Roger Cardinal coined the term “outsider art” as an English synonym for art brut, meaning “raw art” or “rough art”, a label created by French artist Jean Dubuffet to describe art made outside of cultural boundaries. In the context of present-day art-making in the metropolitan area, “outsider art” still connotes a particular aesthetic that often relates to naivete and a freshness that is often absent from work made by “insider” artists. The work exhibited in Outside(r) does not exactly fit this mold; it has been created either with the idea of the outdoors in mind, for the sake of existing outside, and/or by a creative person whose work exists on the outskirts of the contemporary art world.

       Angela Beallor and Kate Sopko have been collaborating since 2011 on a series of site-specific fort installations. In December 2012, as artists-in-residence at Habitable Spaces, a homestead and residency in Kingsbury, Texas, they constructed Dragon-fort, a nest-like structure made of densely woven thorny vines (mesquite, huisache, greenbriar, etc.) that were gathered from the surrounding area. Dragon-fort returns to a form that Angela (as an eight-year-old) carved in the center of a thorn bush in rural Ohio. Presented in Outside(r) is a documentation of some of the building process. Beallor (b. 1979, Cleveland, OH) is a visual artist and writer. She received her MFA in Advanced Photography from Bard College-International Center of Photography and a B.S. in Photo-Illustration and journalism from Kent State University, and recently was awarded a Jerome Foundation Travel Grant. She currently lives and works in Brooklyn, NY. Sopko (1978, Cleveland, OH) is an author, collage and installation artist. She currently works with Cleveland’s permaculture education group Green Triangle, is a facilitator for City Repair Cleveland and an urban farmer active in the city’s local food movement.

       Scott Marceau, a photographer well known in the metropolitan area for his BMX and skate photography, has been documenting the environment and people within his surroundings since childhood. The works featured in this exhibition reveal his first remembered experience capturing moments with a camera - photographs he took during recess in fourth grade of children “ecstatic to be outside and away from the rigorous workload of the elementary school curriculum.” Marceau was raised outside of Cleveland, Ohio and graduated from the School of Visual Arts in 2009. He currently works for a London-based magazine as a photographer and writer, writes for a BMX website, scans negatives for a bicycle-based photography book, and edits a full-length DVD for an affiliated BMX crew.

       Arthur Matuszewski grew up in Rockaway Beach, then part of the true fringe of New York City. While living there he began to apprentice with master glassman Patrick Clark in the art of stained glass, completing many creative projects spanning restorations to original pieces. Though he left the beach for college at Brown University, and then a job in the world of business administration, he often returns and has just completed this original work both for himself and this show.

       Ian McOmber constructs sculptures out of wire, chains, and other materials he finds himself around in his Connecticut studio. He views his process of making as “sketching with [his] hands.” The objects he chooses to make are representative of his interests; bikes, cameras, fish, amongst others. McOmber studied Media Arts at Central Connecticut State University. He currently lives and works in Bristol, CT and is a videographer for Hanger Clinic, as well as a BMX and motorcycle enthusiast.

       AJ Nichols (b. 1986, North Carolina) builds objects that, at their core, serve the purpose of transporting people from one location to another, on the streets and in the elements: bicycles. But he takes the art of creating these simple machines to a unique level, catering to aesthetic and practical preferences of each client. Nichols built the bike in Outside(r) to fit the “Puerto Rican Schwinn Club style.” “It’s like Mad Max in the woods instead of the desert.” He studied Philosophy at Warren Wilson College and has been working in various automotive, mechanic, and bike shops, between North Carolina and New York, before moving to Bushwick with his wife and daughter and opening Harvest Cyclery.

       Gabriella Searles is a designer currently living in Brooklyn, NY. She received her BFA in Graphic Design at FIT. She designs websites for a small studio in Williamsburg and spends her free time almost entirely on the internet.

imageAJ Nichols, “Another Man’s Trash”

imageArthur Matuszewski, “Rebuttal,” 2014, Stained glass window

imageIan McOmber, “Chopper,” 2013, wire, approx. 6 x 4 x 1 inches

imageAngela Beallor and Kate Sopko, “Dragon Fort,” 2012-13, Slide documentation of site-specific installation in Kingsbury, TX


Scott Marceau, “Andrew Jumping Off the Slide,” 1996, C-Print, 4 x 6 inches

Transitions v.2

Transitions v.2 
January 18 - February 2
Opening Reception: Saturday, January 18 7-10pm

Associated Gallery is proud to present our second installation of Transitions, a group exhibition selected from our open call. Please join us for our opening reception Saturday, January 18th, between 7-10pm. 

Featuring works by:

Rachel Grobstein
Tom Henry
Elizabeth Johnson
Leah Oates
Joseph Moore
William Niemeier
Jocelyn Shu
Sarah Zapata

For Immediate Release:

Apologies for the crappy photo, it’s hard to get everything in focus at that small scale! i wanted to make a piece that captured my feeling about impending ecological catastrophe using american consumer culture flotsam and jetsam (Grobstein) in other words, a nation that has hastily been converted from a socialist/communist state into a free-market capitalist economy (Henry). The societal desire for overly complicated technology that performs meaningless tasks is draining public interest in traditionally functional objects and rituals (Zapata). Created during a period of political instability and warfare, the text advocates harmony with nature according to outlined universal truths that address balance and transitions (Shu). The Transitory Space series deals with urban and natural locations that are transforming due to the passage of time, altered natural conditions and a continual human imprint. They are endlessly interesting, alive places where there is a great deal of beauty and fragility. They are temporary monuments to the ephemeral nature of existence (Oates).

I make a mentally abstract space of competing realities, one where meaning is flattened as a sum of disparate thoughts or moments (Johnson). Simultaneously definite and ethereal, they offer a landscape of differing temperaments and spatial levels (Niemeier). An image of a frog in “camouflage” found on a wikpedia article is presented on a computer screen. It blends with its environment to a point of non-differentiation. The website as an encyclopedia written in ones and zeros. The computer as a machine for making copies. The photograph looks like a place that comes to look more like the photograph (Moore). Though essentially paintings, realized with spray paint and stenciled imagery, they are referred to as drawings because of the economical agility in their making (Niemeier).
…and I find this kind of “nonsense” relaxing (Johnson).

imageWilliam Niemeier, “Colosium,” 2007, spray paint on mylar, 24 x 36 inches

Elizabeth Johnson, “Snowy Landscape + Lightswitch,” 2013, Oil on canvas, 24 x 20 inches

Leah Oates, “Transitory Space- Prospect Park Blue Tree #9,” 2010-2011, Traditional color darkroom print, edition 10 with 2AP 16 x 20 inches

Joseph Moore, “Mimicry and Legendary Psychasthenia: Frog/Computer/Studio,” 2013, Archival inkjet from film negative, 17 x 22 inches

Tom Henry, “Hercules and Centaur,” 2013, Carbon duplicate drawing, 22 x 34 each 

Rachel Grobstein, “Here We Go,” 2013, Gouache on cut paper, balsa wood, gesso 6 x 5 x 4.5 inches

Sarah Zapata, “Entry Way Mat - Please Wipe Feet,” 2013, Paper Pulp, Cotton Thread, Nylon Thread, Paint, Plastic Bath Mat, 60 x 24 x 9 inches

Jocelyn Shu, “Chapter One,” 2012-2013, Mixed media, 84 x 16 x 16 inches

Closing Reception for A Little More to the Left

Please join Associated on Sunday January 5 for a closing reception. UPDATE: Due to the snow storm, Tom Warren is unable to make it to New York for the closing and to take portraits. We will still be hosting the closing reception from 1-6pm, please stop by if you haven’t yet seen the show!


A Little More to the Left

A Little More to the Left

+ Tom Warren Pop-up Portrait Studio

December 14 - January 5, 2014

Opening Saturday December 14, 7-10pm


Painting by Rachel Pontius


Associated is pleased to announce a group show concerning notions in contemporary portraiture. Please join us on Saturday, December 14 from 7-10pm as we celebrate the opening of A Little More to the Left, featuring works by Solito Jibaro, Rachel Pontious, and Tom Warren.

As narcissism in our culture becomes ever more pervasive, as evidenced by the ubiquity and popularity of the “selfie”, the portrait in turn becomes something worth reflecting upon. Rather than a contrived homage to oneself, the portrait is instead a dialogue, the projection of an emotion about someone else. Perhaps a commission or a tribute to a loved one, the portrait has the power to reinterpret reality, making the subject more flattering or reviled, while inscribing a sense of emotion and memory into the image.  In A Little More To The Left, Associated has mad a selection of three artists working through contemporary issues in portraiture.

Solito Jibaro collages images of people in his life along with cryptic visual signifiers found online and in vintage magazines to create paintings that are simultaneously abstract and photorealistic. By blending the two he is able to create a narrative in the works, while also developing a sense a character in the portraits’ subject.

Rachel Pontious is similarly interested in creating an emotional context in her portraits, in that she is exploring “personal and propositional knowledge through storytelling, allusions, and experimentation.” And yet her family portraits, often obscured or bisected images painted from family photos, are a dialogue between her family and herself, between nature and nurture. She explains that, “By referencing family photographs for my paintings, and then manipulating them, I am creating a self-portrait that delves into the idea of what makes them—their insecurities, neuroses, physical attributes, personality traits—me.”

Tom Warren on the other hand is not a painter but a photographer. He’s been capturing portraits of people from all walks of life in New York since 1981 and will be showcasing a broad range of his portraits from over the years. Additionally, he will have a pop-up studio set up during the opening on December 14th at Associated to take portraits for just $100 right in time for the holidays.

Transitions v.1 (Like an Indefinite State)

Transitions v.1 (Like an Indefinite State)
Nov. 16 - Dec 1, 2013
Opening: Saturday Nov. 16, 7-10pm


Diane DiMassa

Associated is pleased to announce the first of a series of group shows evoking the theme of transition. Please join us on Saturday, November 16 from 7-10pm as we celebrate the opening of Transitions v.1 (Like an Indefinite State), featuring works by Michael Alongi, Diane DiMassa, Peter Hoffmeister, Shinto Imai, Robert Nava, Elizabeth Riley, Cecilia Salama, and Mika Yokobori.

 From the start of life, we begin to die; Transition between parent and child, or one force to another (Shinto Imai), a blue tarp as a metaphorical dividing line between self and other (Elizabeth Riley). By spending time with them and taking pictures, I feel that I’ve been able to participate in something meaningful – a relationship with each – which is something that can’t be overlooked (Michael Alongi). I could not see the image on this, and carefully washed the mud off, to have a portrait emerge… (Diane DiMassa). I choose to use biomorphic images as a metaphor for social hierarchy, as well as human cells, body parts, or organs as for an individual or a collective functionality within an organism or culture (Mika Yokobori). The fluidity of borders which change according to government policy and conflict, but which can also provide a people with sovereignty (Peter Hoffmeister) is a narrative of the integration of the body and an individual’s psychological states with the city (Elizabeth Riley). In the process of streaming ideas and imagination onto canvas or paper, I become an observer and a single component of my own social environment (Mika Yokobori). The words transcend into the mind, hopefully to a somewhat familiar place of an emotional loopty loop that can occur during a tear-jerking argument (Robert Nava). It definitely begs for an archeological explanation, as it is a sort of enigmatic object that feels like something you can’t quite identify (Peter Hoffmeister)… A mold that has tiny nodules which create a sort of binary-code onto the iridescent latex when it dries (Cecilia Salama). Finally, the text piece, I feel, is left for the mind to handle, in the flow of a circular conversation (Robert Nava).

Open hours: Saturdays & Sundays, 1-6pm and by appt. Email to confirm.

More on view from our very talented artists included in You Are My Sunshine.